Chris Bird-Jones developed a series and then exhibited three glass/textile pieces, on the theme of the ‘Belt’ for the 7th Womens International Glass Network Exhibition, curated by Holly Sandford and Linda Chalmers, at the Lane Gallery. The Women’s Glass Network sustains dialogue that foregrounds experience and knowledge relative to practice. This includes observing and discussing the creative process of others as a key to developing tacit and technical knowledge. From this dialogue, Bird-Jones’ work stands out through her integration of Reusche enamels into the use of glass on textile objects to achieve special effects of colour and light. The glass components were painted and fired with Reusche enamels introduced by fellow-artist Marie Foucault-Phipps and predominantly used in restoration of stained glass. Through exploration of sample firings and finishes, trace colours were combined with silver nitrate. Bird-Jones developed an intricate pattern of filtered and coloured reflected light, characteristic of many of her works.

“Moving Frame” is an experimental film and video project, allowing artists and theorists to produce work and participate in seminars, forums and screenings on an ongoing basis. Kossoff made three works for the project: “The Colour of Memory” (2006), “Essex Flâneur” (2006) and “3 Days (50 Years).” Kossoff’s work focuses on the differences and overlaps between film and digital video; how the perception of time and space can change through the manipulation of moving image material. Through the central issue of film as a sequence of photograms, the work interrogates how perceptions of the moving image are evolving and how the digital has now re-defined the idea of the photogram and the frame. “3 Days (50 Years)” uses the digital camera’s single frame button, capturing the disruption of history in a work about Poland. Through repetitious cutting, “Essex Flâneur” mechanically captures the rhythms of space. Re-colouring and reframing family footage, “The Colour of Memory” shows video as a memorial to time. Kossoff’s essay investigated the moving image as a desiring machine, which is fragmented under interrogation.

“Embryonic” was the first of a series of collaborative works with video artist Heald. The result was a collaborative installation utilising translucency and transparency in both film and kiln formed glass. Two years ago both artists identified a common interest and focus in each other’s work concerning light and movement. Heald was developing projections of her film works onto objects; Bird-Jones was experimenting with moving image in glass. The ensuing collaboration set out to explore how joining both media could enhance the effect of the ephemeral qualities common to both film and glass. These qualities were taken to be: translucency and transparency; and the static quality of glass created from liquid and the dynamic form of video film based on static script or code. Several glass samples were produced and experimented with by the collaborators in the studio. They experimented with Bullseye and Float glass, tack fusing crushed base glass seeking an appropriate and evocative surface to receive the projected film. Material and visual research was conducted concerning scale, size, fixings and juxtaposition of material.

A large (30’x12’) window in Bethania Chapel, Bethesda, North Wales, commissioned in memory of the 1900-1903 Slate Quarrymen’s Strike in Bethesda. The final window design was based upon ideas and images that address the village’s essential relationship to the landscape and its slate bedrock. Central feature of the work was a window within the window, placed upon a slate stone windowsill. The piece is constructed of three layers of antique glass, enamelled glass and blown glass. For this project, Bird-Jones researched the artistic translation of collective social memory. She conducted a significant collaborative inquiry with community members and school groups during her residency to understand local memory and contemporary narrative, as a basis for developing artistic and technical plans for the window. Extensive social, historical and visual research was conducted. Discovery of visual as well as social remnants of the strike directly influenced the design of the window. Images in texts etched into slate, in homes, the public space and in the landscape, and the particular weather and light qualities of the nearby mountains informed the transparency and opacity of the window design. Experience of the enduring social split following the strike led the design’s conceptual content, the inscriptions of 1000 villagers on the window, a process symbolically bringing together families split for a century. Bird-Jones worked with 3 German fabrication studios running experiments with technique, materials and processes before developing sample panels for the window.

Why Read the Classics? is a work made around a damaged classical statue in the Villa Aldobrandini, a public garden in Rome. A flight of stone steps leads past ancient ruins up to palms and orange trees, in a garden, which though beautiful, is rather used and neglected. Near the top of the stairway stands the marble figure of a young woman, on a pedestal in an alcove in the wall. Like so many statues in Rome, the head of the figure is missing. Behind the space of the figure’s head we hung a golden disc, of the kind used to reflect light onto the faces of actors and models. Opposite the figure we installed a powerful film and television lamp, so its beam of light reflected onto the disc and created an aura or halo. Visitors to the garden where confronted by the dazzling light shinning from the iconic vision of a mythical woman. Yet the lamp and electrical cables that produce the light anchored the scene firmly in the present. Later, the work will exist as a pair of still photographs which will formulate a relationship between the fragment and its setting of loss and decline. In Why Read the Classics? three conceptions of femininity converge: the classical goddess, the Christian Madonna, and the contemporary film star. ‘Why Read the Classics?’ is the title of a book by the great

“66.86 m”, is a single channel video documentation of a ‘drawing contraption’ of the artists’ devising, in which ropes are pulled through a box in order to produce a three-dimensional object, in this instance a chair. This is the first work Harrison & Wood produced without a figure present within the frame, and shows the making of a three-dimensional drawing of a generic chair. The continuous take from a fixed camera, together with the jerky movements of the rope and pulleys (used to produce the drawing) re-enforces the distance between the mechanical work and current digital technologies. The work examines the relationship between what is present within the frame and what is excluded. A very direct relationship is formed in that it is evident that what is onscreen is being directly activated by what is off screen, contrary to most film making where this relationship is hidden. The work also examines the relationship between the three dimensional space in which the activity is taking place, the activity itself, and the video.

“Angles of Projection” was a group show of artists’ film and video curated by Kossof. The show is a response to the predominance of narrative based work in the gallery. Challenging the ubiquitous ‘black cube’ of recent times, it promotes moving-image work that is site-related, investigating how the moving image positions the spectator in the gallery and in the cinema, and where there are overlaps or differences.

“Hundredweight” is a 6 channel video installation of fixed-camera documentation of 2-D and 3-D events performed by the collaborating artists. It consists of 36 sections shown on 6 monitors. Building on previous work but directly addressing painting and drawing using a single fixed camera position. The construction of the work allows the viewer to watch all six screens of individual action simultaneously; but also to focus on individual actions. Using a single set with a fixed camera position allows a play between space (the architectural set) and time; all the actions take place in the same space but at different times. The overhead camera position flattens the three dimensional space reducing the architecture to a plan, emphasising the action’s relationship to painting and drawing. The 36 sections are subdivided into six groups, lighting, drawing, static, etc each one looking at a specific art historical or architectural element.

A series of collaboratively produced products using resources from Kensington Gardens, Hyde Park London presented in a mobile market stall and exchanged for small tasks to be done around the park. Working from positions of art and architecture, the project set out to design a new prototype for cultural exchange within public space by asking the following questions: What cultural, social and material resources are associated with the Serpentine Gallery? Can the production of cultural products and services find sustenance through non-monetary communication-based exchange? Strategies included collaborations with product designers on the design and production of artefacts made from material supplied by the Royal Park ground staff. This led to relationships and negotiations with involved institutions on issues of intellectual copyright, project evaluation and project legacy. The project engaged the public through principals of informal economics; resulting in the exchange of park-labour for products plus discussions on art/architecture collaboration, cultural production and public participation.

The work develops the possibility of film as performance, specifically the live interplay of multiple projectors with the artist as performer. Its content forms part of a wider investigation by the artist into rhythmic spatial movement across multiple screens and the temporal and spatial illusions this creates. Overall, the work’s radical import is to prioritise film as a multi-faceted, open-ended system. The work builds on structural film of the 70s and the renewal of interest in “expanded cinema” (Dortmund, 2004). Several aspects of space and of movements between spaces are considered. For example the three-screen film “Camden Road Station” 2004 involves interaction between the profilmic space (of the station itself) the implied space created by the three projectors (overlapping, adjacent, stacked) and the physical space of the venue onto which the images are projected (the arched brick wall at Voutes).

Export search results

The export option will allow you to export the current search results of the entered query to a file. Different
formats are available for download. To export the items, click on the button corresponding with the preferred download format.

By default, clicking on the export buttons will result in a download of the allowed maximum amount of items.

To select a subset of the search results, click "Selective Export" button and make a selection of the items you want to export.
The amount of items that can be exported at once is similarly restricted as the full export.

After making a selection, click one of the export format buttons. The amount of items that will be exported is indicated in the bubble next to export format.